by Herman Wouk ‧ RELEASE DATE: April 2, 1985
Israel David Goodkind, 58 in 1973, Zionist lawyer and quintessential "American Jew," recalls his growing-up years (1920-1941) in loving, leisurely, anecdotal detail—with a few digressions into his present-day feelings about the inside/outside Jewish-American identity. In fact, Wouk gives his fictional alter-ego plenty of 1973 matters to brood on: Goodkind is a recently appointed Special Assistant (for cultural/Jewish matters) to Watergate-enmired Pres. Nixon—a crook, perhaps, but the Jews' best White House friend "since Truman"; Goodkind's daughter, once leftishly anti-Israel, is about to undergo a Zionist/Roots awakening during the Yom Kippur War; his aged mother falls ill during a trip to Israel; and Goodkind himself plays a small role in the War, as a go-between for Nixon and Golda Melt. Fortunately, however, these rather preachy concerns get very little emphasis here. Instead, Goodkind gives most of the space to his affectionate memoirs, a "lighthearted gambol" that stresses Wouk's comic/satiric gifts—even as it leans hard on the familiar theme of Jewish tradition vs. assimilation. First come episodes from "a supersaturated Jewish" childhood in the 1920s Bronx: proud, pushy Mama, daughter and granddaughter of Minsk rabbis; mild, wise Papa, overworked laundry-operator; ancient Bobbeh, prone to depression and epically smelly cookery ("The Sauerkraut Crisis"); beloved Zaideh, inspiring guide in the challenging study of the Talmud; hapless in-laws galore; early glimpses of the world "outside," of dirty talk, of anti-Semitism; and an unforgettable bar mitzva—when Mama plants an embarrassingly inflated story in the Bronx Home News and supervises the stuffing of an historically immense kishka. ("It went twisting all through the place, in and out of the rooms, sort of like a fire hose"—and bitter sister Lee had to "keep it off the floors, and arrange it so that guests when they arrived wouldn't get all tangled up in the kishka, or roped off by it from the drinks.") Later the family makes the breathless move to Manhattan—as Goodkind opts for Townsend Harris Hall and Columbia over yeshiva, becomes something of an "unbeliever," yet remains essentially devout. There are the usual fumbles at teenage lechery, a farcically disastrous first Big Date, romantic disillusionments. There's an odd chumship with ever-sneering classmate Peter Quat, who is destined to become (by 1973) the famously foul author of Onan's Way and My Cock, a Philip Roth-like novelist of American-Jewish alienation. (As for Goodkind, "I've never had much of a hang-up about being Jewish.") And, following Quat's lead, Goodkind puts off law school for a couple of years, working instead as a radio-comedy writer—while falling in problematic lust-and-love with non-Jewish showgirl Bobbie Webb: it's a doomed romance that will finally be abandoned. . . after the 1941 death of Goodkind's father. Here, and throughout, Wouk's viewpoints (traditional, Orthodox, Zionist) sometimes emerge in unappetizing flavors—platitudinous, sermonizing, complacently holier-than-thou. (The name "Goodkind" is no accident.) Whenever the mood turns serious the prose turns into a mush of clich‚s—while Wouk's material (devoid of suspense, short on character and plot) seems more suited to a 200-page memoir than a 650-page fiction. Still, if little more than an avuncular series of growing-up vignettes, this near-endless kishka of a novel is generously stuffed with zestfully old-fashioned humor and sentiment—from Old Country family-feuds (with genuine Sholom Aleichem edges) to vibrant 1930s show-biz farce at Harry Goldhandler's comedy-factory. (The young Herman Wouk worked as a comedy-writer for Fred Allen.) So even those Jewish readers more in sympathy with Roth than Wouk will find solid chunks of entertainment here—while older, more conservative Jewish readers will be both entranced and fortified: "I think my Mom and Pop much more nearly represented 'the American Jewish experience' than Peter Quat's diverting sex-mad college professors. . .
Pub Date: April 2, 1985
ISBN: 0316955299
Page Count: 656
Publisher: Little, Brown
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: March 15, 1985
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by Colson Whitehead ‧ RELEASE DATE: July 16, 2019
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
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The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
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by Cormac McCarthy ‧ RELEASE DATE: Oct. 2, 2006
A novel of horrific beauty, where death is the only truth.
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Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
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by Cormac McCarthy ; illustrated by Manu Larcenet
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